Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubus. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes lo\'e to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural dram.a of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
fernalcs. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Bravest Thing in 
the World 

A Comedy of Childhood in One Act 



By 
LEE PAPE 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1917 






Copyright 19 17 by The Penn Publishing Company 







< t 






FEB -8 1917 






©CI.D 46104 


The Brs 


.vest Thing in 


the World 

TMP96~006877 



The Bravest Thing in the World 



This play in 1915 won the " Jayne Prize" offered by the Phila- 
delphia Center of The Drama League of America for the best original 
children's play in a competition conducted by the League. lis first 
performance was at the Broad Street Theatre, Philadelphia, before a 
Drama League audience. It was presented by Plays and Players, of 
Philadelphia, assisted by the Southwark Neighborhood House Dra- 
matic Club, with the following : 

CAST OF CHARACTERS 

The Cherry Family : 

Father an extra mu) ^^_ William Hughes Mearns 
kmd of father j ^ 

'^"''"/Lm'//"'^'''^""'}'^"- '^'""''" Walsh Fagan 
Geokgik, a little boy of six - - - - Miss Rose Green 

ToOTSiE, a little girl | ^^.^^ ^^^^^^^ p ^ ^^^^^^^ 

seven-goi7i^-on-eignt j ^ -^ 

Jackie, a big boy of nitie - - - Miss Fafitiy Green 

The Tinkle Man, who has ) ,^ j^. ^ r^ j? 

the Box of Wishes \ " - My. Vmton Freedley 

NuRSiE Delia ... - Mrs. William Gibbo?is Morse 
Time of Playing. — Thirty-five minutes. 



Notice to Professionals 

This play is printed for amateur use only. It may be used 
by professionals only by permission of the author, who may 
be addressed in care of the publishers. 



THE STORY OF THE PLAY 

It all takes place in the nursery of the Cherry children. 
Georgie, the youngest, isn't very brave. The others, Jackie 
and Tootsie, have taken the Dark Walk, which is a very 
scary journey through the long hall with the lights out. 
Their mother tells them about the 'I'inkle Man, a fairy who 
gives wishes to brave children. When the children are 
alone the Tinkle Man comes with his box of wishes. While 
the Tinkle Man is telling the others the rhyme of the 
Googlyvvatt, Georgie takes the box. He longs to open it — 
but doesn't. *' Georgie is the bravest. Sometimes the 
bravest thing in the world is to run away from temptation." 
Georgie gets his wish. He wishes he were brave enough to 
take the Dark Walk. The Tinkle Man disappears. Father 
and Mother come back. Georgie wants to try the Dark 
Walk. ** No time like the present." The lights are turned 
off and they wait until Georgie reappears in the doorway. 
'*I did it." 

COSTUMES, ETC. 

The parts of the three children may all be played by 
girls, if desired, although the part of Jackie will probably in 
most cases be played more successfully by a boy. 

Father. About thirty. He wears evening clothes, and 
at first entrance carries his overcoat over his arm. He 
carries no hat at first entrance, but has one at final entrance. 
The overcoat should if possible be one with a bright, gay 
lining. 

Mother. About twenty-eight. She wears a handsome 
evening gown suitable for the opera, and a long opera 
cloak or fur coat. She has a light scarf over her hair at 
first entrance. 

Jackie, Tootsie, Georgie. Ages as in cast of char- 
acters. All wear pajamas and bedroom slippers. Georgie's 
pajamas must have a breast pocket on the left side. 

NuRsiE Delia. May be of any age. She wears black 
dress, white apron, small white cap on her hair. At second 
entrance wears nightcap and nightgown and over the latter 
a very brightly colored dressing gown. 

4 



PROPERTIES 5 

The Tinkle Man should appear young — perhaps about 
twenty. His costume to be effective should be carefully 
planned. He is in doublet and hose all of green, except 
for frilly white cuffs and ruff, and two stripes, black above 
orange, may be about his chest and upper arms. (These 
stripes are not necessary, however.) His pointed cap fits 
tightly, and a wing stands up from each side. His shoes 
and long hose are of green. On his cap, his toes, his arms, 
and elsewhere, are little brass bells that tinkle as he moves. 
Although rather elaborate experience has shown that this 
costume may be quickly made of inexpensive materials. 



PROPERTIES 

Scattered about the room, on the furniture, etc., at rise 
of curtain are various articles of children's clothing, and 
many toys, including a teddy bear. On the table a box of 
lead soldiers, Jackie's cap, and some books. On the mantel 
a child's silver cup, with a handle on the side. 

For Jackie, umbrella, sailboat or other toy that requires 
mending. 

Father, silver cup, teddy bear, box of lead soldiers, 
boy's cap, opera hat. 

Tinkle Man, '* Box of Wishes." This should be about 
nine inches long, by six inches wide, by five inches deep. 
It should be covered with bright yellow paper or cloth, and 
should be ornamented with bands and buttons of gold or 
bright brass. Attached to it is a golden band about one 
and a half inches wide, long enough to pass over the Tinkle 
Man's right shoulder and let the box rest against his left 
hip at his entrance. He slips off this belt and box shortly 
after entering. 



SCENE PLOT 



EXTERIOR BACKING 

—=r(D T=r © 

□ Q 

@ 

I 6 I © 




SCENE. — The nursery in the Cherry home. Practicable 
windows up r. and c, at i and 2. Window No. i should 
be wide and low enough to allow of quick exit and entrance 
through it. The exterior backing should be far enough 
away to allow of a quick leap or dive in exit through win- 
dow No. I. Door at 3, up l. Screen at 4, up l. Mantel 
at 5, L. Door r., small bed for Georgie (6). Up R. beds, 
a little larger, for Tootsie (7) and Jackie (8). Chairs at 
foot of all three beds and in front of screen (10, 11, 12, 13). 
Small but strong table down L. c. (9). Other furnishings 
suitable for a nursery, good color prints on the walls, etc. 
There should be a real or false electric light button on the 
wall L. of the door. 

It is important that the lights should be arranged so that 
they may be suddenly turned off. The effect of the final 
scene depends upon having a dark stage for a few minutes. 
There should, however, be light thrown on Georgie when 
he appears at door on his entrance at the end so that he may 
be clearly seen by the audience. This may be accomplished 
by setting a shaded light or candle on the mantel, the light 
being thrown on the door, or by placing a dim spot-light 
outside and over the door, to throw light down on Georgie. 



6 



The Bravest Thing in the World 



(// all happens in the room where the Cherry children sleep 
till they are called in the fnorning, and frequently longer. 
Their beds are like the three bears' beds : a little bed for 
Georgie, a middle-sized bed for Tootsie, and a big bed,, 
almost, for Jackie. There are two windotvs {see Scene 
Plot) and a door that leads into the hallway. The screen 
is for the Cherry children to put their toys behind so 
they won't be under people's feet in the dark. You can 
see a rocking horse peeping out. Then, of course, other 
chairs and pictures and things. Nuksie Delia, who is 
pottering about setting things to rights, leaves the room 
soon after Mother and Father appear.) 

(Tootsie and Georgie, in their pajamas, are roaming about 
on their hands and knees, like wild bears, or, for that 
matter, lions or tigers. Jackie, also in pajamas, is the 
mighty hunter. He is crouching behind this side of 
Georgie's bed, aitning his trusty rifle (really only an 
umbrella) at Tootsie, and the ivild animals are express- 
ing their feelings by an occasional bloodthirsty, Ooh f 
Ooh / Suddenly Jackie fires by going Bang / and quickly 
half opening and shutting the umbrella. But it seems 
that Tootsie is only wounded by the shot, or 7naybe missed 
altogether, for she springs at the hunter ferociously. Just 
in time Jackie fires agai?i, and Tootsie rolls over on her 
back with her arms and le»;s in the air. So she must be 
7vhatever kind of wild animal dies like that. Georgie, 
who seems to be only a baby wild animal, is naturally 
frightened and runs and hides behind the chair by the 
screen.) 

Jackie {creeping over and putting his head down by 
Tootsie' s head so the baby wild animal ivill think its 
mother is calling). It's all right ! He's gone away. Come 
out from behind that tree. {He creeps back to the bed again, 

1 



8 THE BRAVEST THING IN THE WORLD 

and Georgie, thus cruelly deceived, ventures forth, and is 
immediately shot and rolls over on his back. Jackie, rising 
proudly.) Hah, hah ! 

{Enter Mother and Father, up l. Father has on his 
going-to-the- Opera clothes a fid is carrying his overcoat 
over his arm, a?id Mother looks beautiful in a wonder- 
ful long fur coat and a lovely scarf that covers her hair. ) 

Father. Hah, hah yourself ! 

Mother (^puttifig her hatids up like a megaphone). All 
abed going to bed ! 

(^The two wild animals magically become alive and jump up 
and run over to Mother and Father.) 

Georgik. Mother and Father are going to the Opera ! 

Father (^raising high the arm that hasn^t got his over- 
coat over it and making his voice sound like opera-singing). 
They are ! 

TooTSiE. Do they do it that way at the Opera ? 

Father. Worse, Tootsie, worse. 

(^He puts his overcoat oti a chair up L.) 

Mother. Impossible. 

Father {insisting on it). Worse! 

Jackie {putting the umbrella in the corner behind Toot- 
sie's bed and then coming forward). I've been shooting 
wild animals. When 1 grow up I'm going to be a great 
soldier and shoot my country's enemies. 

Mother. And how about if they shoot you? 

Jackie. Oh — they won't. Anyhow, maybe I'll be a 
great hunter, instead, and just shoot lions. 

Tootsie. I'm going to be a lion tamer and tame them. 
That's harder than shooting them. 

Georgie. But they might bite you, Tootsie. 

Tootsie {do7vn l.). Oh, I'm not afraid of that. I'm 
not afraid of anything. Didn't I take the Dark VValk last 
night? {Runs to her mother.) 

Mother (/// r. c). My brave little girl ! {She gets 
doivn on her knees and pulls Tootsie up against her soft 
furs.) And it wasn't so awful, was it? 

Tootsie. It was pretty awful ! 

{This 7nakes them all laugh.) 



THE BRAVEST THING IN THE WORLD 9 

Father (/// l., looking tip from a sailboat that he has 
been fixino for Jackie). Why, Toots, did anything jump 
out at you ? 

'1 OOTSIE. Well — there was something, at the top of the 
three little steps. (Father shakes his head and laughs as 
if he didnt believe it.) With heads ! {She stamps her foot.) 

Jackie (k.). Oh, I know that thing ! You won't see it 
after about the third lime. 

Georgiyl {downh.). Ooh ! What is it? 

Jackie. It's a big— big 

{He makes both hands look like dragon's claws and comes 
down L. shooting them out at Georgie.) 

Father {sharply, to Jackie). Now ! 

Georgie {running to Mother). Stop ! 

Mother. Jackie ! {She gathers Georgie in with the 
arm that's not aroimd Tootsie.) Never mind, dear. 
Georgie's going to take the Dark Walk himself soon, aren't 
you, Georgie boy ? 

(Georgie buries his face in Mother's shoulder.) 

Father. Sure he is ! 

Jackie {down l.). Aw, he's even afraid to go to sleep 
unless the liglit's lit. 

Tootsie. I'm not. 

Father {teasingly). Huh ! 

'XcoT'zA^ {a bit lamely). Anymore. 

Father. But you're a head bigger than Georgie. 

Mother. And you're seven-and-a-half and Georgie's 
only five-going-on-six. 

Tootsie. But I'm only a girl, and Georgie's a boy. 

Georgie {emerging from Mother's shoulder). I bet 
I'll take the Dark Walk in less' n— in less'n two years ! 

Jackie. Two years, gee ! You'll be pretty near a man, 
then. 

Father. That's right. He'll be a man as soon as he 
takes the Dark Walk. Come on, Georgie, have an elephant 
ride ! {He hoists Georgie /// on his shoulder.) Make way 
for the Booinboom of Bishwar ! 

{Goes r. and then l., carrying O^owci^.) 

(Mother rises, her arm still about Tootsie's shoulder.) 



10 THE BRAVEST THING IN THE WORLD 

Georgie (^grabbing almost as though he were drowning 
and Father's head were a raft). Put me down ! Put me 
down ! 

Father. What's the matter? 1 won't drop you. And 
you're mussing my nice hair ! 

Georgie {beating his feet against Father's chest). Put 
me down ! 

Father. But I've got you tight ! 

Mother (^quietly). Better put him down, Father. 

Father {as he puts Georgie on the floor again, dow7i l.). 
Georgie ! I'm ashamed of you ! 

(Georgie runs up r. c. to Mother, who tnakes hitn feel all 
right again by stooping down and kissing hijn.) 

Jackie. The Tinkle Man will never give Georgie a wish 
for being brave ! How about the time 1 scared away the 
burgular ! 

Father. Hah ! That was the time. 

TooTSiE {clapping her hands). That was the time ! 

Geurgie. Jackie's the bravest of all ! 

Jackie (Jooking as proud as he feels). I guess I am ! 

Father. Come on, Jackie, we'll show 'em how you did 
it. Then, Mother, we'll have to go. 

(^He gets his overcoat and puts it on inside out. It has a 
gay, bright lining and really makes Father look entirely 
different. ) 

TooTSiE. Father's going to be the burgular ! 

Geurgie. Oh, goodie ! 

Father (modestly, as he turns up his overcoat collar), 
I don't know whether 1 can look the part very well. 

Georgie {encouragingly). Yes, you do, Father. You 
look like one. 

Tootsie. Exac'ly. 

Jackie. And here. Father. Here's my cap. 

(Takes cap from table doivti L. c, hands it to Father, and 
thefi goes up c.) 

Father. That's right. All burglars have to wear caps, 
don't ihey ? — or else get a bad mark for deportment. (Father 
pulls cap do7vn on the front of his head like a burglar, only 
of course if s much too sfnall and makes them all laugh, 



THE BRAVEST THING IN THE WORLD II 

Mother too.) What's the joke? If I don't look like one 
I'm not going to pretend ! 

Jackie {by bed tip c). But you do, Father, you do ! 
You look just like one ! Don't he, Mother? 

Father. Do I, Mother ? 

Mother {jcp r.). Well, I'm sure if I saw anybody after 
dark looking like that, I'd run. 

Jackie. There ! 

Father {who trusts yioiiYiER*?>judgtnent in everything). 
All right, then. Let's see, 1 come in the window, don't 1? 

Mother. No, the door. You're not used to coming in 
windows. 

Father. Very well, the door, then. {Turns toivard 
doory but stops half way.) But how about my bull's-eye 
lantern ? Ah, here's something ! 

{He takes silver cup from the mantel, L.) 

Georgie (r.). That's mine. It's got G. C. on it, for 
Georgie Cherry. 

Jackie. And I must be in bed, same as I was the time 
of the real burgular. 

(^Ue takes a header into the almost-big bed up c, while 
Father goes out up l., and closes the door after him. 
Father opens the door far enough to stick his head in 
antl give a burglar look around. Then he comes in all 
the ivay, walking as though the room were dark and the 
only way he could see anylhins^ is by moving Geokgie's 
cup about infro7it of him like a dark-lantern. M(,)THER 
and Tootsie and Geougie are sitting on Tootsie's bed, 
up R., watchino;, and they laugh as Father pounces on 
Georgie's teddy bear and lifts it from behind the screen 
up L. and tucks it under his arm.) 

Father. Ah, hah ! I wonder what crib this is? 

Jackie {pretending to wake 7ip, and springing:; to his 
knees in the bed). It's the Cherry crib, and you better get 
out of it quick, too ! 

Father {after turning wildly about in every direction 
but the right one and finally making believe to see 1kQ.YAV.for 
the first time in the light of the bulP s-eye). Ho, ho ! Who's 
this fine young gentleman ? 

Jackie. That's all right who I am, but I know who you 
are, all right. You're a burgular ! 



12 THE BRAVEST THING IN THE WORLD 

Father {very viuch surprised and mortified'). Sugar! 
There must be something about my appearance ! 

Jackie. A baby could tell you're a burgular ! 

Father. Oh, don't say that ! 

Jackie. . It's true, and you better not lose any time get- 
ting out, either. 

Father. Ha, ha, ha! Ho, ho ! Why, you don't think 
you can keep me froai crackin' this crib, do you ? Who are 
you, hltle shaver ? 

Jackie. 1 can soon tell you who I'm going to be. Just 
as soon as 1 grow up I'm going to be governor of this state. 

Father {quite impressed^ in spite of himself ). No ! 

Jackie. Yes. And if you don't get out of here before I 
count ten, do you know what's the first tiling I'll do when 
I'm governor ? I'll make a law to cut all burgulars' legs off 
instead of just arresting them. 

Father. No ! All our legs ! You wouldn't ! 

{He rubs his legs at the bare thought.') 

Jackie. Wouldn't I, though? And what's more, I'll let 
everybody know that you were the cause of it, and then no 
burgular will ever have anything to do with you. 

Father {trembling with apprehension). But I say ! I'm 
first lookout officer of the Burglars' Club, you know. I 
couldn't afford to have anything like that happen to me. 
It'd ruin me. It would mean the end of my social career ! 

Jackie. You heard what I said. Now I'll give you ten 
to get out. One, two 

Father {backing toward window tip q,.). Have mercy, 
young gentleman ! I've got a wife and thirty- fijur small 
children to support. {Coaxingly.) Just let me steal a teeny 
little bit ! 

Jackie. Three, four 

Father. Just those lead soldiers, then. {Points to lead 
soldiers on table, down L. c.) I can melt them and make 
counterfeit silver dollars out of them. 

Jackie. Five, six 

Mother. Not the window. Father ! 

Father {changing his direction so that now he is back- 
ing out to7vard the door). My night's work will be wasted. 
The sun will rise in less than an hour. Think of my wife 
and thirty-four 



Jackie. Seven, eight 



THE BRAVEST THING IN THE WORLD 1 3 

Father {almost crying ). We lose our vacation if we're 
caught working after the sun's up 1 

Jackie. Nine 

Father {juho is now in the hall with his hand 07i the 
outside knob of the open door). Oh 

Jackie. Ten ! 

Father. Fudge ! 

{He slams the door hastily!) 

TooTSiE {running down c. with Georgie, while Mother 
follows not quite so fast). That's how ! 
Geokgie. That's how he did it ! 

(Father comes back with his overcoat on properly and the 
collar turned down, and walks over to the table, L. C, to 
put Jackie's cap back so Jackie won't have any excuse to 
rush about the house at school time shouting that he can't 
find his cap.) 

Mother (/// c). Oh, but I'm proud of my brave 
children ! 1 shouldn't be surprised if the Tinkle Man 
dropped in on you any day now. 

Father (/// l.). It's getting late, Mother. Time and 
tide wait for no man, even when his wife's with him. Hear 
'em say their prayers and come along. 

Tootsie. Tinkle Man, Mother ! Say the Tinkle Man 
first ! 

Jackie. Oh, yes, Mother ! 

Georgie. Tinkle Man ! 

(Mother comes doivn r., the children around her.) 

Father. But I repeat — time flies, and we don't move ! 
Haven't I any voice in this family at all ? 

Mother. Indeed you have. If it wasn't for your voice, 
these children would never wake up in the morning. I can't 
make them hear. 

Father (l.). They're afraid of me, that's the reason ! 
{He makes a terrible face^ sticking his thumbs in his ears 
and waggling his hands, but the children only laugh as 
though the idea of anybody's being afraid of Father is sim- 
ply too funny. Father, triumphantly.) See ! 

Mother. Father, where's your Opera-hat? I'll have 
these three in bed by the time you've found it. I suppose 
you haven't the faintest idea where it is. 



14 THE BRAVEST THING IN THE WORLD 

Father. I have, too. I know exactly. It's under my 
bed — or in the wardrobe — or on top of it — or 

Mother {ivho has been shaking her head a/ Father's 
guesses). It's in the library closet. 

Father. Or in the library closet. 

(^Exit up L.) 

Mother. Now, anybody that wants to hear about the 
Tinkle Man ! {She sits on the edge of Georgie's bed, down 
R. Jackie sits on one side of her, Tootsie on the other, 
and Georgie gets around back and puts his arms about her 
neck.) 

There's a tinkle at each wrist, there's a tinkle on 

each shoe — 
(Little bells that have been kissed !) — he can talk 

in tinkles, too. 
He moves like corks on water, for that's just how 

he feels, 
And his charming little daughter always follows 

him on wheels. 
He has a box of wishes, and each wish has a wave 
To float upon, like fishes, and if only you've been 

brave, 
He'll let you put your hand in till you feel your 

dearest wish. 
And catch it by its tiny fin — exactly like a fish ! 

Jackie (after the three of them have stared at Mother 
a wide-eyed, breathless moment). He'll let you put your 
hand in till you feel your dearest wish 



Tootsie. And catch it by its tiny fin 

Georgie. Exactly like a fish ! 

Tootsie. You saw him once, didn't you, Mother? 

Mother. When I was a little girl. He's invisible to 
grown-up people, you know. 

Tootsie. You must have been an awfui brave little girl ! 

Mother. No braver than my Tootsie. She took the 
Dark Walk last night. 

Jackie. He's almost all in green, isn't he, Mother? 
With two wings on his cap. 

Geougie. Wings on his cap? Is that what makes hina 
move like corks on water. Mother ? 

Mother. I shouldn't be surprised. 



THE BRAVEST THING IN THE WORLD 1 5 

Jackie. Well, when he comes, I bet a thousand dollars 
I'll be the one, all right. (^Crosses l., strutting.) 

Mother. Careful with your nnoney, there, Jackie ! 

TuoTSiE. He needn't be so sure, anyway. Didn't I 
take the Dark Walk? 

Jackie. Oil, that ! I did that a year ago. 

Geokgie. Mother? 

Mother. Georgie? 

Georgie. Do you think I might ever be the one ? 

{This see77is to strike Jackie and Tootsie as a ??iost deli- 
cious iy funny notion.^ 

Tootsie. You ! 

Jackie {tunning back r.). When were you ever brave? 

Georgie. Do you, Mother ? 

Mother. Yes, dear. You never can tell. 

Jackie. I know what I'll wish for. I'll wish for a magic 
carpet like the one in the Arabian Nights. 

Georgie. Ooh ! Will you let me go riding on it with 
you sometimes, Jackie ? 

{Enter Father, up l., with his Opera-hat^ and comes 
down r. to the bed.^ 

Jackie. Maybe. If you're good. 

Mother. If wishes were carpets, Jackie would ride. 

Tootsie. I know what I'd wish for. I'd wish for a 
fairy godmother, like Cinderella's. Or no, — I'd wish 

Father. Keep 'em for the Tinkle Man. {Warningiy.) 
Mother, I'll be going without you in a moment. And then 
wouldn't you feel bad ! 

Mother {overwhelmed at the thought^. I'd never get 
over it. Come, kiddies, say your prayers and tumble into 
bed if you don't want Father to go without me. 

Jackie (as he drops down on his knees^. Quick, you 
two ! 

( While Tootsie and Georgie are scrambling down from the 
bedy Father walks over to window up c. and raises it.) 

Father. Plenty of air, plenty of air ! 

Good for the lungs and good for the — hair. 

( The three children are ?iow kneeling on the floor in front 
of bed with their heads against Mother's knees. Slie is 



l6 THE BRAVEST THING IN THE WORLD 

seated on bed. Mother holds up a hajid to let Father 
know if s no time for noise ^ and the curtain falls.^ 

(^It stays down just long enough to give you time to imagine 
that Jackie and Toutsie and Geokgie have been tucked 
in, and that Mother and Father have gone to the Opera. 
Now, if you've imagined that, it will be fio trouble at all 
to imagine that the children have been asleep — oh, two 
hours. And then the curtain goes up again.) 

{The children are asleep in their beds, though the room is still 
lighted. After a few momefits the ivindow up r. between 
Tootsie's bed and ^hQ,YA^'^ rises quietly, and the Tinkle 
Man bobs lightly in, and as he moves, fust as Mother 
said, like corks on water, examining the room and the 
sleeping children, you can hear his tifikles. Once he goes 
back to the windoiv and shakes his head reprovingly at t/ie 
sky. Thefi he bobs over to the fireplace, bends his kfiees 
till he is about Jackie's size to discover whether tJie chil- 
dren can reach the mantel, finds they can' t, a?id unslings 
his box of wishes and puts it up there. The children 
have been tossing restlessly, as though undecided tvhether 
to stay asleep or wake up and see whaf s in the room. 
Geurgie decides to wake up and see.) 

Georgie {down r., sitting up very straight and very sud- 
denly). Ooh ! 

The Tinkle Man {like an echo, as he turns from the 
mantel). Ooh ! 

(Jackie and Tootsie start up, rubbing their eyes.) 

Jackie. What? What is it? 
Tootsie. It's the Tinkle Man ! 

The Tinkle Man {echoing, as he bobs extrafoyfully). 
It's the Tinkle Man ! 

{The childrefi spring out of their beds and come down r. c. ) 

Jackie. But where's your little daughter? 

Tootsie. Your charming little daughter, who always 
follows you on wheels ! 

The Tinkle Man {down c). Not always. That's just 
it. {He bobs to the window up r. for another glance at the 
sky, the children following him.) She's forever stopping ! 



THE BRAVEST THING IN THE WORLD 1 7 

She stopped at the little dipper for a drink and at the great 
dipper for a swim. She stopped at the moon for a piece of 
cheese — she's always hungry, she's got the moon all nicked 
up ! — she stopped to chase a comet, and finally she stopped 
to slide on the milky way. But I'll fix her 1 I'll put butter 
on her wheels and then she won't be able to stop. {Looks 
out the window once more.) I suppose she's gone home 
again. 

Georgie. Where ? Where does she live? 

The Tinkle Man. Why, at my house, of course. Two 
doors from the Beginning. {He points through the window^ 
and the children cluster about him, following the direction 
of his finger.) There? Do you see that light? That 
very last one in the sky ? 

ToOTSiE. That little star that's winking all the time? 

The Tinkle Man. It does look like a star, doesn't it ? 
That's the lamp-post in front of my house. 

Jackie. What makes it wink like that? 

The Tinkle Man. The breeze factory is right around 
the corner, and the breezes are always getting loose and 
blowing my light. {Comes down c, the children folloiv- 
itig.) I've complained about it, but it doesn't seem to do 
much good. {His voice suddenly groios stern.) And 
speaking of light, how's this? Here I come bobbing in 
expecting to meet the bravest children in the world — I've 
been hearing about you ! — and how do I find you? Asleep 
— with the light lit ! 

Jackie. Oh, that's for Georgie. Mother always turns it 
out when she comes home. I'm the one that scared away 
the burgular, 

ToOTSiE. And I'm the one that took the Dark Walk last 
night. 

Georgie. And I'm the one that 

The Tinkle Man. Yes? 

Georgie. That's going to take the Dark Walk — some 
time. 

(The Tinkle Man laughs, and so do Jackie and Tootsie.) 

Jackie. Going to take it ! 

{He and Tootsie jump and clap thtir hands, repeating, 
''Going to take it!''' while Georgie, ashamed, walks 
slowly backwards up l. with a finger in his mouth. ) 



l8 THE BRAVEST THING IN THE WORLD 

The Tinkle Man. Well, that's a start, and that's some- 
thing. Things without a start almost never get anywhere. 
Mabel Maud Diminish never had a start. Shall I tell you 
about her ? 

Jackie. Oh, yes ! 

TooTSiE. Please ! 

f (Geokgie is now sitting on the chair in front of the screen 

up L.) 

The Tinkle Man (^bobbing, when he is half-way through, 
onto Georgie's bed, doivn r., where he finishes'). 
Mabel Maud Diminish — 
(And this is only part) 
Could never, never finish 
. 'Cause — she never had a start ! 
Never an answer when they'd call — 
(And this is the remainder) 
Siie never really was at all ; 
And-they-never-found-out-what-detained-her ! 

Tootsie {on bed down r.). Poor thing ! And what do 
you s'pose did ? 

The I'lNKLE Man. Hard to say. But imagine my sur- 
prise, when 1 bobbed in to see if she deserved a wish, to find 
she hadn't got there yet — no start, you see ! 

Jackie {jiown r.). Oh, say, where is your box with the 
wishes in ? 

The Tinkle Man {pointing \.. to it). Up there. Safe. 
{The children, including Geokgie, still on the chair, look 
at the box of wishes on the mantel, L.) The difficulty is, 
I'm allowed to give only one wish at a time to a family, or 
else there mightn't be enough to go 'round. Why, some- 
times, I bob in on families with as many as nineteen, all de- 
serving wishes. It's pretty hard on me, you know, having 
to decide which one's the bravest. 

(Geokgie gets up off the chair and pushes it over to the 
ma7itel, \..,just under the box of wishes.) 

Jackie. But it oughtn't to be hard on you here. Scar- 
ing away a burgular, you know ! 

{He sits on the edge of the bed, at the foot, hugging his 
knees. ) 

Tootsie. Yes, but the Dark Walk — for a girl I 



THE BRAVEST THING IN THE WORLD I9 

(Shej knowing that whatever Jackie does is worth imitat- 
ing, sits on the pillow end of the bed hugging her knees. 
To politely iticlude them both in the co?iversatio?i, the 
Tinkle Man has to keep turning his head from side to 
side. Geokgie has now climbed up on the chair, taketi 
down the box of wishes, and stands holding it l. and 
loo ki fig from the box to the Tinkle Man. The7i he 
tur?is it round and round, examining it.^ 

The Tinkle Man. That's just it. You've got to take 
everything into account. What's brave for one might not 
be for another, you see. (Zb Jackie.) It would be brave 
of you to hang over the clothes line and take a beat- 
ing, if you needed one, without crying, but your parlor 
carpet, now, could do the very same thing and it wouldn't 
be brave at all. Do you see the difference? Do you see 
how hard it is on me? (Tootsie ^//<^/ Jackie nod.') Billy 
Bunt, for instance. At first glance, you'd have thought he 
was brave as anything. But he wasn't, so very. Shall I 
tell you about him ? (Tootsie and Jackie lean toivard 
him, nodding briskly.) Well — 

He took a pirate bad and bold — 

Umpdumped him in a trunk ; 

O how that pirate's blood turned cold ! 

And how his eyes with terror rolled 

When, quick as wink-wank-wunk. 

He found himself in an empty hole 

Without a bottom to it, 

Sliding down, down, down like the devil's coal, 

With nothing to eat but an egg and a roll, 

And not much time to do it ! 

(Jackie and Tootsie crow ivith delight, but the Tinkle 
Man holds up his hand to show there' s more to it.) 

Now picture Billy's parents' joy, 

If Billy'd been a little boy 

With his statue now marking the place ! 

(Georgie raises the Wish Box to his ear, and gritis with 
delight. He hears the wishes inside.) 

Tootsie. And wasn't he? 



20 the bravest thing in the world 

The Tinkle Man. 

Ah, no, dear children, Billy Bunt 
Was a great big whopping elefunt, 
And the trunk was the one on his face ! 

(Georgie hugs the Wish Box tight a?id with a glafice at the 
Tinkle Man, runs with it tip behind the screen.') 

ToOTSiE. But couldn't an elephant have a wish — by 
putting his trunk in, 1 mean ? 

The Tinkle Man {bobbing off the bed and down l. c., 
followed by children). Wouldn't do. There's too many 
children want 'em as it is, without letting in the animals. 
What if 1 gave them to lions and tigers, and they started 
wisiiing for babies for breakfast ! {Still looking at the chil- 
dren^ his arm is stretched toward the box of wishes^ and 
you can see that he means to take it down. But as a new 
thought strikes hitn, he forgets what he went over for.) 
Besides, it would spoil their dispositions. The fine thing 
about animals is, they're satisfied. They hardly ever want 
to be anything but just what they are. Of course, I've 
known a few cases where animals were dissatisfied, but 
they've all ended badly. The googlywatt, for instance, 
who wanted to be a winkus. Perhaps — but it's not a cheer- 
ful thing. 

Tootsie. Oh, yes ! 

Jackie. Tell it ! 

(The Tinkle Man bobs once around the room, the two chil- 
dren follo7ving Indian-file, finally bringing up doilin c, 
with the Tinkle Man between Jackie and Tootsie, the 
latter facifig L. He makes slow circles with his hands 
over their heads which cause Jackie and Tootsie to re- 
volve once and then sit tailor fashion at his feet.) 

The Tinkle Man. I warn you, it's sad. However 

(^He sits betiveen the7n.) 

It was a sweet young googlywatt 
With beautiful eyes and a purple spot. 

Who wanted to be a winkus; 
Sighing sickly sighs, groaning ghastly groans, 
Crying, " Wocka wo wo ! " in pitiful tones 

On the banks of the pale green Drinkus. 



THE BRAVEST THING IN THE WORLD 21 

Its father tried beatings, its mother tried tears, 
But the googlywatt sat there for eighty-nine years, 

A-yeaniing to be a vvinkus, 
Till the night air finally gave it a chill, 
And it shivered and died, a googlywatt still, 

On the banks of the pale green Drinkus. 

TooTSiE. Poor thing ! And why did it want to be a 
winkus ? 

The Tinkle Man. Goodness knows. Like most cases 
of dissatisfaction, there was very little reason for it. Now 
if it had been a winkus, and wanted to be a googlywatt, I 
might understand, because winkuses are usually delicate, 
and not at all handsome, and squeak when they walk. 

Jackie (rising). Well, anyway, we're not animals, and 
I should think scaring away a burgular 

TooTSiE. And 1 should think taking the Dark Walk, for 
a girl 

The Tinkle Man. Yes, and now the only point is, what 
should I think? It must be a great comfort for you two to 
know what you should think, but after all, it's not necessary. 

ToOTSiE {ivho, you remeuiber, is facing the mantel). Oh! 
The box of wishes ! It's not there ! {Springs up.) 

The Timkle Man (sprifiging tip). What? But that's 
impossible, you know, because I — 1 put it there. 

{He is undoubtedly very much upset and afraid to look, 
although both Jackie and Tootsie are 7ww on their feet 
staring spellbound at the empty spot on the mantel.') 

Tootsie. But look and see ! Look ! Look ! 

{Still the Tinkle Man hasn't the courage to.) 

Jackie. It's gone, all right. {He runs to the mantel.) 
And so's Georgie ! Where's Georgie? Georgie must 
have it. 

The Tinkle Man {whirling around and then running 
over to the mantel). It is ! It's gone ! It's gone ! My 
box of wishes is gone ! 

Tootsie. But it can't be, for real, you know. Georgie 
must have it somewhere. Let's find Georgie. 

The Tinkle Man {who ivould never havp thought of that 
himself in his present nervous state). Yes, find Georgie 



22 THE BRAVEST THING IN THE WORLD 

and get it back ! {^He is so overcojne by his loss that he 
fust stands there repeating, ^'^ Find Georgie I Find 
Georgie /'* unti/ Jackie and' looTSiE, shouting, ** Georgie/ 
Georgie / " have run out up L. into the hall, where you can 
still hear them shouting for a moinent or two. Then the 
Tinkle Man bestirs hiinself and dashes about looking for 
Georgie ifi the most impossible places, such as behind pil- 
lows and under books and rugs and in the grate, and even, 
as a brilliant thought, i?i Georgie' s little silver cup on the 
mantel. He talks to himself as he hunts. ) That boy 
shouldn't have done that. Wherever can he be? Georgie ! 
Georgie ! Oh, my box of wishes ! Georgie ! 

(Suddenly, as he stops doivti r., he sees that Georgie, with 
the box of wishes in his ha?ids, has come out from behind 
the screen up l., and is looking at him.') 

Georgie (after a moment). I never even opened it. 
(Comes down l.) Cross my heart, Tinkle Man ! I wanted 
to, awful, but I — I didn't. 

The Tinkle Man (darting over L., snafchins^ the box, 
and holding it up to his ear) Oh, he didn't ! He didn't ! 
I hear them in there ! (He bobs happily about the room, 
hugging his box of wishes afid singing :) 

A tinkle, a tinkle, 

A merry-go-winkle ! 

A tinkle all covered with dew ! 

A tinkle, a tinkle, 

A merry-go-winkle ! 

(He bobs onto the table down l. c.) A nice little tinkle 
for you ! Do you know what would have happened, 
Georgie, if you had tried to steal a wish ? (Georgie, do7v?i 
L., shakes his head.) Your favorite wish would have snapped 
your middle finger right off, and the rest of the wishes would 
have taken fright and died, and no little boy or no Utile girl 
could ever have had a wish again. 

Georgie. Never ? 

The Tinkle Man. Never. 

Georgie. Oh, then I'm glad I didn't. But you don't 
know how terribly nearly I did ! 

The Tinkle Man. Perhaps I do know, Georgie. 



THE BRAVEST THING IN THE WORLD 23 

(He bobs down from the table Just as Jackie and Tootsie 
e7iter up l.) 

Jackie. We can't Why, there he is ! 

Tootsie {co?ning down l.). And you've got your box 
of wishes back ! 

Jackie {coming down l.). And now I can have my wish. 
I'm the bravest, you know. 

The Tinkle Man. No, Jackie, Georgie is the bravest. 

Jackie. ) r- • ^ 
i.. V Georgie ? 

loOTSIE. j ° 

G EG KGi E (jnost surprised of ail). Me ? 

The Tinkle Man {kissing his box of wishes). Georgie. 
You'd never suppose, would you, now, that sometimes the 
bravest thing in the world is to — run away ? 

Tootsie. Brave, to run away ! 

Jackie. He's fooling. 

The Tinkle Man. Ah, but I'm not, though. (He sits 
on the edge of the table, Tootsie sits ofi the floor facing him, 
her back to audience, and Jackie and Georgie draw close to 
him on either side. Geokgie is to r. of table.) The bra- 
vest thing in the world is to run away from something you 
can't even see. 

Jackie (who still thinks the Tinkle Man is fooling). 
Oh! 

The Tinkle Man. From a little sugar-and-molasses dwarf 
called Temptation. And don't think he's easy to run away 
from — he's invisible, you see. I mean, you don't see, you can't 
see anything that's invisible to you, just as grown-up people 
can't see me because I'm invisible to them. The only way 
you can tell Temptation is near you is by a sudden feeling 
that you want to do something that you know you oughtn't 
to (io. That's Temptation's breath on you. And his breath 
is sweet, because he's made of sugar and molasses, and that's 
another reason why he's hard to get away from. But Geor- 
gie just ran away from him, and this time Georgie's the one 
that gets a wish. 

{He bobs off the table, drawing Georgie over a little 
toivard the bed down r.) 

Georgie. Oh, then I wish 



The Tinkle Man. Any wish at all. 



24 THE BRAVEST THING IN THE WORLD 

TooTSiE. Oh, wish, Geoigie, wish ! 

Georgie. I wish 1 wasn't afraid to take the Dark Walk. 

I'he Tinkle Man. A beautiful wish ! Come, then. 

{He bobs down onto one kneCy opening the box just wide 
enough for Geokgie to slip his hand in, whi/e Jackie and 
TooTSiE draw near aftd watch. Wiien Georgie takes 
his /land out again, it is closed tight about his wish. 
There are voices outside.) 

Jackie. Mother and Father ! 

{Enter Mother aiid Father up l. As they come in, Geor- 
gie crams his wish into the breast pocket of his pajamas 
jacket. The Tinkle Man springs up. Mother has 
put her furs and sca?f away, a?id looks even more beauti- 
ful, if possible, in her Opera-gown.) 

The Tinkle Man {prancing gleefully and whispering) : 

Hey diddle dee 
They can't see me ! 

Mother (/// c). Well, what's the meaning of this? 

Father (/// l.). Twelve o'clock, p. m., midnight, and 
all out of bed ! 

The Tinkle Man (still in a giggly whisper). See, I'm 
invisible to them. , 

{He bobs all about Mother and Father, getting hiviself 
into the funniest positions and snaking the fu?iniest faces. 
The three children, laughing scandalously for that hour 
of the night, jump into their beds and look over the brass 
bars as though they were i?i three boxes at the theatre. 
Mother and Father, who naturally would like to know 
what it's all about, look in every direction, but of course 
it doesn't do the?n a bit of good, because the Tlnkle Man 
is invisible to them.) 

Mother. Have they lost their senses ? 

Father. Blessed if 1 know. Tliere must be something 
to laugh at. 

Mother. But there's absolutely not a thing ! 

Georgie {hard/y able to talk for laughing). They 
don't see nim ! They don't see him ! 



THE BRAVEST THING IN THE WORLD 25 

(^He is out of the bed noWy jumping and clapping bis ha^ids ; 
so are Jackie and Tootsie. The Tinkle Man finally 
ceases bobbing and making faceSy blows a kiss to the chil- 
dren and bobs out the same windoiv he came in by up r. , 
leaving it open after hiniy because where he comes from 
there are no windows or doorSy and he doesn' t know 
they're supposed to be left the way you find thetn. The 
chiidreuy up r., run to the window and wave and call 
good-bye to him, and then turji again to enjoy the comical 
laay Mother and Father are looking at each otiier in 
bewilderment.) 

Jackie. It was the Tinkle Man I 

P , K {rttnning doimi L.). It was the Tinkle Man ! 

Mother. They've been dreaming. 

Jackie [prancing doivn l.). But we haven't — he just 
went out the window. See, it's still open. 

Father. The window is open, certainly. I didn't do 
that, 1 swear — right over their beds ! 

{^He goes up r. and closes it.) 

Georgie {jiown r.). And he gave me a wish ! 

(He feels in his pockety and by the expression on his face 
you know the wish is not there.) 

Jackie {cofning to c). Is it gone? 

(Georgie, almost ready to cry, nods Yes.) 

ToOTSiE {suddenly understanding, kneels in front of 
Georgik). It's all right, Georgie ! Don't you see, it must 
be all ihe way inside of you al-ready. Why, now you can 
take the Dark Walk ! Don't you feel as if you could ? 

Georgie {after a mofnejit spent in finding out how he 
feels). Yes. 

Father. Big man! And in the words of what's his- 
name, there's no time like the present. 

TooTSiE {springing up). Do it now, Georgie, do it now ! 

Mother {coming down r.). Oh, Georgie, do you think 
you can ? 

(Jackie crosses to her.) 



26 THE BRAVEST THING IN THE WORLD 

Georgie. Yes, Mother, I've got my wish. {Puts his 
hand over his heart.) 1 feel it in here. I'm not afraid to 
take the Dark Walk. Can I do it now. Father ? 

Father {coming doivn c). Do you mean, may you ? 

Georgie. Yes, sir, can 1 ? 

Father. You may. Now we'll see if you can. {He 
puts his hand on Georgie's shoulder.) Now, son, don't 
run, anci don't cry, and don't look back. {He goes up l. 
to the door and opens it.) Sing out when you get to the li- 
brary, and I'll turn out the light. 

{For Just a moment Georgie is a bit weak at the kttees. Then 
he feels at his heart again to ?nake sure the wish is still 
there J straightens up like a' soldier^ fuarches bravely 
across to the door and out.') 

Mother (r. c., calling after hijn). Good luck, Georgie ! 

'I'ooTsiE (r. c.). Good luck ! (Georgie disappears 
into the hallway, and the rest of them stand looking toward 
the open door and availing, Jackie a7id Tootsie each with 
an arm about Mother. Father still has his hand on the 
door-knob up l. Tootsie is remernbering last night.) 
After you get past the three little steps it's not so bad. 

Georgie {'luay off in the library). All ready ! 

Father {loudly, as he shuts the door and pushes the elec- 
tric light button on the wall right by it). Go ! 

{And now the room is as dark as a room can be. You can 
tell ivho's talking only by the voices.) 

Tootsie' s Voice {after a little while). He must be up 
to the three little steps by now. 

Jackie's Voice. Shh ! {After another little while.) I 
wonder if he's very scared ? 

Tootsie's Voice. Hush ! .. . . He's pretty long. 

Three Voices. Shh ! 

{Just a<i you are getting ready to think he is pretty long about 
it, tJie door opens, and in the dim light which comes fro7n 
above the dooriaay, outside, you can Just about make out 
that it's Georgie.) 

Georgie {standing in door up l., as YMm^e.K pushes the 
button and the lights come on again). I did it ! I did it ! 
(Father, amidst the exultant shouts of the rest of the Cherry 



THE BRAVEST THING IN THE WORLD 27 

family, lifts him up on his siioulder, a?id Georgie flings his 
arms wide.') I did it ! 

Father. Make way for the Boomboom of Bishwar ! 

{There is an informal, hurrahing parade, in the course of 
which NuRSiE Delia appears at the doorway in a state 
of shock and a nightcap, and wJiat must be the most vivid 
dressing-gown in the world, and the curtain falls.) 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions,' 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
(scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
fSchool," "Back to the Country Store," etc. The villagers have 
-planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes 'engaged, which surprises 
the surprisers. The entertainment is a sure success. Price, 15 cents, 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gjit- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
.any number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
' more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

* BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 

Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears tipon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Fr.\nk 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia San ford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired li\'ing with her aunt. Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 




LIBRftRV OF CONGRESS 

The Power of I 

Expression and efficiency go hand in 1 g 015 910 127 7 • 

The power of clear and forceful expression brings confi- 
dence and poise at all times — in private gatherings, in pubHc 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

Jhe power of expression leads to: 

The ability to think "on your feet'* 
Successful public speaking 
Effective recitals 
The mastery over other minds 
Social prominence 
Business success 
Efficiency in any undertaking 
Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



